Exhibition Expanded Media
Artistic works from the competitions Media in Space and Network Culture are on display, which includes cross-border formats such as performance, installation, Expanded Cinema and Net Art like interactive web or social web projects or interventions at public and virtual spaces.
Expanded Media Exhibition at Kunstbezirk
Thu 19. Jan. 19:00 – 21:00
Fri 20. Jan. 15:00 – 21:00
Sat, Sun 21. / 22. Jan. 11:00 – 19:00
Tue 24. – Fri 27. Jan. 15:00 – 19:00
Sat, Sun 28. / 29. Jan. 11:00 – 19:00
Exhibition and Supporting Programme – free admission
Thu 19 Jan. 19:00
(with guided tour through the Exhibition at opening)
Fri 20 Jan. 17:00
Sat, Sun 21 / 22 Jan. 15:00
(optionally followed by a guided tour at Gedok at 16:00)
Wed 25 Jan. – Fri 27 Jan. 18:00
Sat, Sun 28 / 29 Jan. 15:00
Guided Tours for families with Sara Dahme
Sat 21 Jan. / 28. Jan. 14:00
Individual guided tours for groups
Meeting point for guided tours
Information desk at Kunstbezirk
How to get there
Streetcar U24, bus 43 (Rathaus stop), Bus 43 takes you directly from the festival location FITZ! (Wilhelmsbau stop) to Kunstbezirk (Rathaus stop) and back.
Leonhardsplatz 28, 70182 Stuttgart
U-Bahn / Bus: Haltestelle Rathaus
An image of the sea that comes close to the boundaries of abstraction, set against a backdrop of fishing nets mounted on stilts. Birds disrupt the peace of the salty air with their unpredictable trajectories of rapid flight during which the camera fights to find a focal point. Finally, one of the gulls is caught in the focus. From this moment on, it is caged in a magic trap and has to find its way out.
Whiteout is a meteorological phenomenon in which visibility and contrast are severely reduced by snow and subdued lighting conditions. (Source: Wikipedia)
The video installation “Whiteout” is concerned with projected images that are reciprocally superimposed on one another. The images are projected from opposing sides onto a suspended piece of transparent paper. One projection mirrors and inverts the image of the other whereby the darker areas of the one image outshine the lighter areas of the other.
In this edition of the work, the filmed shadow of a free-floating architectonic form can be seen in the projection light. This arises from the miniature scale model of the connecting doorway where the work is installed. Both projections connect the fine motions of the filmed shadows on the walls of the exhibition space to the gentle backward and forward swaying motions of the transparent paper suspended between the projectors.
The precisely corresponding positive and negative forms shift continuously against one another making an exactly matching overlay seem like a vanishing point that is constantly in reach but never attainable.
The video installation shows a slowly rotating view of the Barents Sea: up becomes down, East becomes West. HC Gilje shot the footage for the video in the border zone between Norway and Russia, facing the North Pole. He used his custom-built orbital camera, which slowly rotates around its own axis and captures the world that revolves around it, thus allowing for an atypical exploration and experience of spaces and landscapes. Border and thresholds become invisible, and the potential disaster inherent in the ocean is made visible.
Barents (Mare Incognitum) is a commission for the second Dark Ecology Journey (2015). Thanks to the Childrens' Art School in Nikel for providing work space.
The artwork called „horizontal computer-based wave healing“ is an electrical, cybernetic sculpture. Through to permanent variations of rotation speed, the six installed fans create optical and changing effects. Two fans are located in a row. Each spins in the other direction. When looking at the pair of fans, you can recognize the effects just mentioned.
The calculation of the different rotation speeds occur in a complex installed system. Additionally, the information and data, which determine several sensors within the sculpture, serve as variables within the calculation system. Through to the rotation speeds of the fans, modulated audio-oscillators create a close, ever changing sound level.
The equal circuit of the auditory and optical frequency provides on the one site a highest possible immersion of the sculpture and the space and on the other site the possibility of transcendence.
“Once Upon A Time…“ is based on one of the most famous scenes in movie history, it’s from the movie “Once Upon A Time In The West” by Sergio Leone (1968). The scene depicts the pivotal duel between the mysterious Harmonica (gunman) and the murderer Frank. Both protagonists are facing each other – just ready to pull their revolvers. The close-up shot of Harmonica’s (Charles Bronson) eyes, which are shown for a few seconds between the black bars of the screen, make up the scene’s culmination point. This cinematic process aims at pushing the drama to the limit as well as emphasizing the positive characteristics of the film’s hero, Harmonica, as much as possible. Given this picture, in which heroism reaches its pathetic climax and the need for justice after a dirty deed is almost palpable, I use my own eyes and in searching direct eye contact with the viewer,
I extend the scene for more than 10 minutes. In my show, the narrative of male heroism takes its own course.
Dream is a single screen audiovisual installation built upon the cinematic concepts of deception and conspiracy. It is a para-
noid and voyeuristic attempt to activate the static color bars of an off-air television screen and to peep through the slits. The color stripes are like cloth draped across the screen and playfully covering and revealing the speculative beyond. When they occasionally open up, these uncanny movements disrupt the composition of the television set and question the seer’s perception of reality. Dream draws its inspiration from the post-apocalyptic film “Videodrome”, 1983, which predicts a future world where human beings are controlled by VCR players and TV screens. Ironically, this wild fiction is gradually being validated: thousands of screens like tentacles help us access and communicate with the virtual world and yet surveil us by their perpetual omnipresence, strangling us tight. We look at the screen and we believe what we see; we mechanically type on the keyboard and we think we have control over the machine. And yet little do we speculate what’s beyond the screen. Lurking on the other side of the screen there exists an artificial void, within which a fleshy form of existence defies our satisfaction of control ...
“The End: Death in Seven Colours” is a labyrinthine exploration of the deaths of Alan Turing, Sigmund Freud, Princess Diana, Jim Morrison, Judy Garland, Walter Benjamin, and Marcel Duchamp. These deaths are examined through the prism of a vast, encyclopedic media mash-up. The work presents an ‘exploded view’ diagram of our culture’s relationship to death and narrative closure. Like a chose-your-own-adventure conspiracy theory, The End weaves together a paranoid meta-text organized around themes of coincidence, concealment, secrecy, the unknown, and the shifting boundary between animal, man and computer in the post-human era. The work is a net art piece created on Korsakow.
KairUs (Linda Kronman und Andreas Zingerle)
“Megacorp.” is a corporate conglomerate inspired by its equally powerful counterparts in science fiction. The artwork is based on a collection of fraudulent websites scraped from internet by the artist duo KairUs. These companies exist only virtually and are used by cyber criminals for phishing attacks or to support scam stories. The “Megacorp.” exists therefore as an umbrella company for subsidiary companies that are 100% dummy cooperations.
The functions of “Megacorp.” are presented in the form of company visuals. The archived websites are locally available allowing visitors to explore the current fake website repository. By examining the fake websites the artwork reflects both the imaginary and the real world 'megacorps', questioning centralization of power.
YouTube Kanal: EVERYDAY DNA
“1 video, every day, 365 days. Constant urge to disclose. This is not a chat.”
EVERYDAY DNA arose out of the circumstance that two people were geographically separated. What started as communicative bypass turns into a peculiar way of coping with a shattered relationship. As time evolves, the 'classic' stations of a break-up (denial, despair, progression, relapse, release etc.) shift over, becoming more and more a personal testimony of the specific time period in which the videos were produced. Private revelations alternate with political incidents, and though the recipient is absent s/he is the engine of this monologue.
365 videos were produced between 23-10-2014 and 23-10-2015.
Interactive Internet- und
“10.000 moving cities” deals with globalized cities as changing “Non-Places” in terms of Marc Augé. Visitors can select any city of
the world using data goggles as digital interface in a virtual reality system. User-generated content linked to the selected city such as images or posts from social networks, is searched and retrieved in real time and displayed as a multiple moving collage onto the facades of an abstract urban environment. Through this kind of paradox virtual reality the visitor discovers the local, cultural, and linguistic differences as well as the similarities of the globalization. The Internet data are always changing, each request creates new representations of the world.
Using a HTC Vive data google the user can walk inside the gallery space. People standing outside the installation can also see in a projection the user‘s perspective. Two sensors localize the user‘s position and transmit it to the Unreal rendering engine that teleports the user into the desired cities.
Marc Lee in collaboration with the Intelligent Sensor-Actuator-Systems Laboratoy (ISAS) and the ZAK | Centre for Cultural and General Studies at the Karlsruhe Institute of Technology (KIT) and the ZKM | Center for Art and Media Karlsruhe.
The raison d'être of ART101 is that it’s a YouTube channel teaching its viewers how to make art and how to be artists. Its language is aimed at that generation widely known as “millennials”: a plugged-in, attention-depleted audience keen for instant gratification.
Each of the 4 episodes has a different theme with its own colour and a separate prop. The narrative tells how Morgan’s character will eventually destroy her computer and set herself free from this social media tyranny. ART101 works across various online platforms with a YouTube channel and a Twitter feed. Viewers are invited to interact with ART101 through these channels and to leave comments accordingly. Remember ART101 is an actual thing, a YouTube channel.
ART101 is an actual thing starring Morgan Cahn with editing and FX by Andrew Maclean, episode 4 editing and FX by Dave Hackney. It's written and directed by Ben Robinson and sponsored by the Dundee Visual Artists Award. Morgan, Andrew and Ben all previously worked together on the Dundee-based art zine Yuck ’n Yum, and ART101 is their first collaborative YouTube project.
Playing with the idea of deceitful messages, the parametric speakers in ”Do You Like Cyber?” broadcast a series of short audio messages that were used by bots on the dating website Ashley Madison, which I retrieved after the site was hacked. These bots were programmed to engage the website’s users in online chats, getting them to subscribe to the website’s services. Despite the fact that the bots were designed to only contact males, they didn’t always function as they should have. This work focuses on a series of insubordinate bots that, in a post-anthropocentric fashion, displayed anarchic and unpredictable behaviors, such as chatting with each other for no apparent reason or contacting female users even if they weren’t programmed to do so.
”Do You Like Cyber?” puts the autonomy and interaction between artificial entities at its center, while leaving humans only partially aware of their presence. The public will be both engaged and eluded by the fragmented symphony of broken conversations that, bouncing from one side to the other of the exhibition space, transform a networked activity into a sensorial experience.